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Ruffatti organ for Notre Dame Seminary, New Orleans

Rendering of Ruffatti organ for Notre Dame Seminary, New Orleans, Louisiana

Fratelli Ruffatti is building a new organ for Notre Dame Seminary, New Orleans, Louisiana. The two-manual instrument comprises 42 stops and 34 ranks. In addition to an unenclosed Great division, it features enclosed Great and Swell divisions, both of which use the new hyper-dynamic expression system developed by Ruffatti, which enhances the efficiency of the expression chambers. There are a separate set of intra- and inter-manual couplers for the enclosed Great stops.

The primary use of the instrument will be to support liturgy, and numerous foundation stops provide means for the accompaniment of choir and congregation. At the same time, the stoplist supports a wide range of repertoire for solo use.

For information: https://ruffatti.com/en/.

 

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Cover Feature: Ruffatti, Notre Dame Seminary, New Orleans

Fratelli Ruffatti, Padova, Italy; Notre Dame Seminary, New Orleans, Louisiana

Ruffatti organ

Flexibility is the key

The new instrument for Notre Dame Seminary of New Orleans is a two-manual organ. In spite of its relatively moderate size, however, it is designed to be more flexible in its use than many of its three-manual counterparts. This is made possible primarily by the careful choice of stops and console controls by sacred music director Max Tenney in collaboration with the builder.

A notable and not-so-common feature is the division of the Grand-Orgue into two sections, unenclosed and enclosed. The first contains the principal chorus, based on a 16′ Principal, while the latter includes flutes, a Gemshorn with its Celeste, and a rather powerful reed. Versatility not only comes from graduating the volume of the enclosed stops, but goes well beyond. Let’s look at how this is accomplished.

Each section of the Grand-Orgue is equipped with its own set of sub and super couplers and a Unison Off. The unusual possibility of applying interdivisional couplers and Unison Off only to a few stops and of using them in conjunction with other non-coupled stops within the same manual offers new and exciting possibilities. As an example, the Great Trompette, which is only controlled by one stop knob at 8′ pitch, can be used at 16′, 8′, and 4′ (and under expression) with a non-coupled principal chorus.

The console controls include a Grand-Orgue Enclosed to Expressif Transfer, which can separate the two Grand-Orgue sections in a single motion, canceling the stops drawn on the first manual and transferring them to the second. The two Grand-Orgue sections, now located on separate keyboards, can be used in dialogue, one against the other. In addition, the transfer makes it possible to use the enclosed Grand-Orgue stops with the stops of the second manual, which are also under expression. Imagine the possibilities!

A further step toward the separation of the two Grand-Orgue sections is their separate set of couplers (at 8′ and 4′) to the Pedal. There are more controls to stimulate creativity, such as the Manual Melody coupler, the Grand-Orgue Trompette coupler, and the Pedal Divide.

The most important contribution to tonal flexibility, however, is the result of very careful choices of dimensions and manufacturing parameters of the pipes, which comes from decades of experience. Together with refined voicing techniques, a good blending of each stop in all traditional stop combinations is guaranteed. In addition, the performer can create registrations that are often considered unconventional but provide valid musical solutions to whatever challenges arise. With proper voicing and pipe dimensioning, a smaller instrument can display a tonal flexibility comparable to that of a much larger pipe organ.

Technically, the console has much to offer. In addition to quality tracker-touch keyboards (61 keys), a 32-note standard AGO pedalboard, and an ergonomic design, it is equipped with a very reliable and well-tested control panel, which is remarkable in many ways. It displays a user-friendly touchscreen—by a simple touch the organist can jump from one icon to the next to access different functions. The icons are many, but all are intuitive to put any organist at ease from the first experience.

The combination action, which includes both generals and divisionals, offers great flexibility. As is often the case with modern systems, organists can have their own dedicated “folders.” Password input is not needed to open them; a personalized magnetic “key” placed next to a sensor will allow access. The storing of combinations is made simple by giving them the name of the piece for which they were set (i.e., Widor Toccata). Further, a number of such pieces can be selected and grouped into concert folders, which can be given a name as well (i.e., Christmas Concert 2021).

—Francesco Ruffatti

Partner & Tonal Director

The organ case

Designing a new pipe organ is always an exciting process. Many things must be taken into account, both from the technical and the visual standpoints. Technically, it is always a challenge to make sure that every part is easily accessible, that every pipe is reachable for tuning, that the various divisions speak freely into the building, and that all technical elements fall into place properly. Visually, the design is the result of a combination of several aspects: the environment in which the organ is located, the client’s wishes, and the designer’s creativity.

The chapel at Notre Dame Seminary is not a large building, yet it is a place with high, vaulted ceilings and classical architectural design. The organ and the console find their place in the loft above the main door, where the choir will sing under the direction of music director and organist Max Tenney.

The casework was stipulated to be of classical design, with the largest pipes in the façade. Our approach to the design follows this criteria, but with a contemporary touch to it, in an effort to blend the classical style with features that belong to the 21st century. The case is divided into five bays, with the central bay capped by an arch, thus recalling the big central arch dividing the loft from the chapel. The side bays closest to the center have counter arches, which bring more emphasis to the central bay, while the bays to their sides are a natural conclusion to the organ case containing the smaller façade pipes.

The organ façade features a decorative element in front of the pipes, which enriches the design as a whole. This element develops from the top of the arched roofs next to the central bay and follows its curve, spanning through the three central bays. The decoration crosses in front of the central pipe and changes its curvature until it reaches the vertical columns, where it is replaced by gilded shadow gaps, and then continues on the low part of the side bays, matching the curvature of the pipe mouths of the outermost bays.

The case is finished with a white lacquer and is enriched by 24-carat gold leaf accents, to complement the interior scheme of the planned redecoration of the chapel, soon to be implemented.

—Michela Ruffatti

Architect & Design Director

The organ in liturgy

Rooted in the Documents of the Universal Church, the Teaching of the Supreme Pontiffs, the Directives of the Dicastery for Divine Worship and the Discipline of the Sacraments in the Vatican, as well as the United States Conference of Catholic Bishops’ Secretariat on Divine Worship, together with the Norms for Spiritual Formation provided in the most recent edition (2022) of the Program for Priestly Formation, the Office of Sacred Music at Notre Dame Seminary seeks to provide the men in priestly formation with both a solid and comprehensive analysis, as well as a practical and methodological understanding of Liturgical Music, its role in service to the Sacred Liturgy, and the means by which the clear and consistent teaching of the Church on the subject might best be implemented throughout the dioceses and parishes in which these future priests will find themselves in the service of God’s Holy People.

These words have guided the Sacred Music Program at Notre Dame Seminary in the New Orleans Archdiocese since my arrival nearly a decade ago. Almost immediately the then-rector, the Very Reverend James A. Wehner, S.T.D., had begun a conversation with me about the organ in the seminary’s Chapel of the Immaculate Conception of the Blessed Virgin Mary. The Möller organ had served admirably for nearly a century. It had even survived several attempts to alter its original tonal design, including the expansion of the instrument through the means of extensive unification, in addition to a revoicing. Also, during the decades following the Second Vatican Council, the instrument had been severely neglected, receiving almost no service in those years.

It was decided early on in those conversations that the organ needed to be replaced. The mandate was clear: to design an instrument worthy of Our Lady’s seminary, the largest theologiate in the American Church, that would competently and beautifully accompany the Church’s liturgies, including both the Holy Mass and the Divine Office. As the seminary grounds are located in the urban uptown neighborhood of the city of New Orleans, the chapel is in frequent demand by the archdiocese for various ceremonies, rites, and services that can be accommodated in the small nave seating only 175 persons. These realities guided my mind in planning a new instrument. Additionally, I wanted to provide an organ that would serve to inspire future priests not only in their daily prayer, but in the eventual reality that, God willing, they will one day serve as pastors in parishes across the Gulf south, and that they themselves might go on to commission similar instruments of such high quality for these parish communities in which they will serve.

The concept for the seminary organ—two manuals and pedal with two enclosed divisions and an unenclosed complete principal chorus—came about through the months and years of conversations with Francesco Ruffatti, tonal director of the firm. This idea would seem to deliver the most flexibility for our instrument. It was also through these discussions and because of my desire to honor the French patrimony of the city, archdiocese, and seminary, that our concept for a French-inspired instrument was developed. Francesco and Michela had previously spent much time surveying and studying several famous instruments by the builder Cavaillé-Coll in preparation for what has become one of the firm’s landmark organs—in Buckfast Abbey, Devon, U.K., which contains a French Gallery division. Our instrument here in New Orleans is largely influenced by that study.

As we have now completed the installation of the instrument and are in the process of voicing and tuning, we have begun using the instrument at liturgies. To say that the organ surpasses my every expectation would be a gross understatement: it literally sings in the room. It is possible to lead the entire seminary community with only the 8′ Montre. The rich harmonics seem to lift the voices high in the nave. The Gregorian chant Propers sung by the Seminary Schola Cantorum are beautifully accompanied by the Gemshorn. The sounds are truly gorgeous in every sense of the word.

This project would not have been possible without the incredible support of the Very Reverend Father James A. Wehner, S.T.D., Sixteenth Rector and Sixth President of Notre Dame Seminary. As well, profound thanks are due to the entire team at Fratelli Ruffatti, including Piero, Francesco, and Michela Ruffatti, Fabrizio Scolaro, Evgeny Arnautov, Nancy Daley, and Tim Newby.

—Max Tenney

Associate Professor, Organist and

Director of Sacred Music

Notre Dame Seminary

The Roman Catholic Archdiocese of New Orleans

Builder’s website: ruffatti.com

Seminary website: nds.edu

Cover photo by Steven Blackmon

Detail photos by Fratelli Ruffatti

 

GRAND-ORGUE Unenclosed Manual I

16′ Montre 61 pipes

8′ Montre 61 pipes

4′ Prestant 61 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Doublette 61 pipes

1-3⁄5′ Seventeenth 61 pipes

2′ Fourniture III–V 264 pipes

Zimbelstern 12 bells

Sub Octave

Unison Off

Super Octave

GRAND-ORGUE Enclosed

16′ Bourdon (prep)*

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

8′ Gemshorn 61 pipes

8′ Gemshorn Celeste (TC) 49 pipes

4′ Flûte Octaviante 61 pipes

Tremblant for enclosed stops

8′ Cor de Wehner (Trompette de Fête) 61 pipes

Chimes (prep)*

Sub Octave

Unison Off

Super Octave

EXPRESSIF (Enclosed), Manual II

16′ Bourdon Doux (prep)*

8′ Stopped Diapason 61 pipes

8′ Viole de Gambe 61 pipes

8′ Viole Celeste (TC) 49 pipes

4′ Prestant 61 pipes

4′ Flûte de la Vierge 61 pipes

2-2⁄3′ Nasard 61 pipes

2′ Octavin 61 pipes

1-3⁄5′ Tierce 61 pipes

2′ Plein Jeu IV 244 pipes

16′ Basson-Hautbois 61 pipes

8′ Trompette Harmonique 61 pipes

8′ Hautbois (ext 16′) 12 pipes

Tremblant

8′ Cor de Wehner (Grand-Orgue)

Chimes (prep)*

Sub Octave

Unison Off

Super Octave

PÉDALE (Unenclosed)

32′ Contre Basse (prep)*

32′ Contre Bourdon (prep)*

32′ Resultant (from Soubasse 16′)

32′ Harmonics V (from Montre 16′ and Subbass 16′)

16′ Montre (Grand-Orgue)

16′ Soubasse 32 pipes

16′ Bourdon (Grand-Orgue)

16′ Bourdon Doux (Expressif)

8′ Basse 32 pipes

8′ Bourdon (ext 16′ Soubasse) 12 pipes

8′ Stopped Diapason (Expressif)

4′ Flûte (ext 16′ Soubasse) 12 pipes

32′ Contre Bombarde (prep)*

32′ Contre Basson (prep)*

16′ Bombarde 32 pipes

16′ Basson (Expressif)

8′ Trompette (ext 16′ Bomb.) 12 pipes

4′ Hautbois (Expressif)

8′ Cor de Wehner (Grand-Orgue)

Chimes (Expressif)

* console preparation for digital stop

50 speaking stops (including preparations and wired stops)

34 pipe ranks

1,970 pipes and 12 real bells

INTERDIVISIONAL COUPLERS

Expressif to Grand-Orgue 16, 8, 4

Grand-Orgue Enclosed to Expressif Transfer

Grand-Orgue Unenclosed to Pédale 8, 4

Grand-Orgue Enclosed to Pédale 8, 4

Expressif to Pédale 8, 4

Manual Melody Coupler

Grand-Orgue Cor de Wehner Coupler

COMBINATION ACTION

Generals 1–10

Grand-Orgue 1–6, Cancel

Expressif 1–6, Cancel

Pédale 1–6, Cancel

Set

General Cancel

Next (+) (multiple locations)

Previous (–)

All Generals Become Next (piston)

Divisional Cancels on stop jambs for each division

MIDI

MIDI Grand-Orgue

MIDI Expressif

MIDI Pédale

Pedal Divide 1

Pedal Divide 2

(Pedal divide configurations and dividing point are programmable from the touchscreen)

CANCELS (not settable)

Reeds Off

Mixtures Off

 

Zimbelstern

Tutti (Full Organ)

Expression for Expressif

Expression for Grand-Orgue Enclosed

All Swells to Expressif

Crescendo

CONSOLE CONTROL SYSTEM

The control panel is a 5.7-inch-wide color touchscreen.

Functions and features:

• Screen settings, language selection, date and time display, thermometer display

• Metronome

• Transposer, by 12 semitones either way

• Crescendo and Expressions bargraphs

• Crescendo sequences: standard and settable

• Crescendo Off

• Diagnostics

• “Open” memory containing up to 9,999 memory levels for the General pistons

• Additional 100 personalized folders, each containing up to 9,999 memory levels for the General pistons

• Access to the folders by password or by personal proximity sensor

• Up to 5 “insert” combinations can be included or cancelled between each General piston to correct errors or omissions while setting combination sequences

• Renumbering function for modified piston sequences

• All system data can be saved on USB drive.

• Display for combination piston and level in use

• Combination action sequences can be stored with the name of the piece, and pieces can be collectively grouped and saved into labelled “Concert” folders.

RECORD AND PLAYBACK

Export/import recordings with USB drive.

Ruffatti organ, Notre Dame Seminary, New Orleans

Fratelli Ruffatti has built a new organ for Notre Dame Seminary, New Orleans, Louisiana: two manuals and pedal; 50 speaking stops (including preparations and wired stops); 34 pipe ranks; 1,970 pipes and 12 real bells.

The video is a chronicle of the installation of the organ.

The organ is featured on the cover of the October issue of The Diapason: 
https://www.thediapason.com/content/cover-feature-ruffatti-notre-dame-seminary-new-orleans

Builder’s website: ruffatti.com

Seminary website: nds.edu

Cover photo by Steven Blackmon. Detail photos by Fratelli Ruffatti. 

Cover Feature

C. B. Fisk, Inc., Gloucester, Massachusetts

First United Methodist Church, Pittsburg, Kansas

From the Organbuilder

Forever ago it seems, in the year 1991, C. B. Fisk, Inc., was commissioned to build a three-manual, 49-stop teaching and recital instrument in McCray Hall on the campus of Pittsburg State University, Pittsburg, Kansas. Our first organ in the Sunflower State, Opus 106 provided us an opportunity to work closely with PSU professor Susan Marchant, the school’s widely respected director of choral activities, organ, and harpsichord. Trained in organ performance at Oberlin and Yale, Dr. Marchant allowed at the time that, should the stars someday align again, her dream was to acquire a Fisk instrument for her church—the First United Methodist Church of Pittsburg.

Well, to the benefit of all, twenty-six years later the stars did indeed realign, and in the spring of 2017 C. B. Fisk was awarded a contract with FUMC to build a two-manual, 26-stop mechanical-action organ. Discussions had commenced the year previous with Dr. Marchant, music director and organist, Eric Rosenblad, chair of the organ committee, and the Reverend Mark Chambers, senior pastor. It was decided early on that Opus 152, in contrast to its predecessor, would be centrally located and facing forward at the front of the sanctuary, enabling it to speak without obstruction into the nave. Its unorthodox, imaginative tonal design, developed in close collaboration with the music director, would be efficient, flexible, and specific to the needs of a traditional United Methodist parish church with a reputable, first-rate music program. For our part, we were as delighted at the opportunity for further artistic partnership with Dr. Marchant as we were enthused to add to the collection of fine musical instruments that enhance life in southeastern Kansas.

The First United Methodist Church was established in 1879 as the Tabernacle Methodist Church, three years after the founding of the city of Pittsburg. The current building, a sturdy and nicely proportioned edifice of red brick, is the third in the church’s 140-year history. Dating from 1914, it stands at the intersection of 5th and Pine Streets, one block west of Pittsburg’s picturesque main street.

The church has recently undergone a major renovation, a new pipe organ having been a cardinal component of the renovation plan from day one. Acoustical consultant Joseph Myers, president of Kirkegaard Associates in Chicago, was key to the revitalization of the sanctuary design. Following a day of joint onsite listening and brainstorming with Fisk president Michael Kraft and project manager Andrew Gingery, and encompassing ideas that came out of visual designer Charles Nazarian’s initial studies in the physical design model, Mr. Myers generated a detailed, prioritized list of room modifications for consideration. All together, these changes would markedly improve the sanctuary’s acoustical ambience—for the spoken word, for congregational as well as choral singing, and for the support of organ tone. Myers’s comprehensive report contained recommendations for:

1) reshaping and extending the chancel platform in order to bring the liturgical proceedings closer to the people and to provide greater flexibility for worship and concerts;

2) filling the former organ chamber openings in the chancel sides with angled, plastered masonry walls to add support for the organ’s bass tones and at the same time reduce parallel side wall flutter;

3) removing in its entirety the (providentially) non-structural proscenium arch, thus doing away with an acoustically harmful sound trap;

4) adding a gently sloping, shallow, convex reflector tight against the barrel-vaulted ceiling at the centerline of the chancel in order to dramatically reduce the confusing buildup of sound between floor and ceiling and to furnish supportive reflections for both choir and organ.

These room modifications, in concert with the new instrument, signaled substantial changes to the front of the worship space; in spite of this, all were enthusiastically embraced and adopted by the church leadership. With the renovations complete and the new organ in place, the sanctuary has been visually and acoustically transformed into an exceptional setting for liturgical worship and musical performance.

Opus 152 is a two-manual and pedal instrument of 26 stops, 22 of which are independent voices. The stoplist was conceived to make the most of available resources, both in terms of budget and space. The Great division, located behind the façade at impost level, comprises only six stops but provides a solid foundation of 16′, 8′, and 4′ tone as a basis for leading congregational song. The one Great reed stop, the German Trumpet, is constructed after Arp Schnitger’s Unterklavier Trompet 8′ in the St. Laurentius Kirche, Dedesdorf. The large Swell division is home to a complete 8′ flue chorus, a pair of strings modeled after those of Aristide Cavaillé-Coll, a flute-scaled cornet séparée with Dom Bédos-inspired mutations, and three colorful nineteenth-century French reed voices—Trompette, Hautbois, and Clarinette—all at 8′ pitch. Importantly, the upperwork of the Swell is scaled and voiced to not only create an effective and balanced flue chorus in that division, but also to couple to the Great foundations where it generates a convincing organo pleno on Manual I. The heavily built Swell box is located above the treble pipes of the Great division and is oriented back to front, with expression shades on the front and both sides. Due to its wealth of tone colors and extensive dynamic range, the Swell accompanies the church choir with ease, and it contributes well to the organ’s ability to showcase a wide range of organ solo repertoire. The Pedal is home to two independent voices—the hammered spotted metal Principal 16′, standing in the façade from DD, and the Trombone 16′. Four additional Pedal stops are mechanically transmitted from the Great.

Construction and preliminary voicing of Opus 152 happened in our Gloucester workshop over the first several months of 2018. Installation took place in August of that year, and the finish voicing occupied us throughout the fall and into the winter. The service of dedication and consecration of both sanctuary and pipe organ took place during Lent, on March 24, 2019, to a full house. It featured the organ as an instrument beautifully positioned to fulfill its roles of supporting congregational singing, accompanying choral music, and playing solo and chamber music of diverse styles. Participating musicians on this joyous occasion included the church’s Chancel Choir, members of the Pittsburg State University Choir, PSU saxophone professor Joanne Britz, and organists Susan Marchant, Peter Frost, and Jung Hee Lee.

—David C. Pike, Executive Vice President & Tonal Director, C. B. Fisk, Inc.

From the Music Director and Organist

From my earliest visits as a graduate student to the Fisk shop in Gloucester, as well as to a number of the instruments that resulted from the artistry and craftsmanship that guide the creative process there, I was drawn to the extraordinary organs that bear the name of the firm’s founder. My subsequent conversations and visits with Charles Fisk confirmed my decision that, were I ever to be so fortunate as to have an opportunity to help guide the acquisition of a new organ, I would look first to C. B. Fisk.

That good fortune became a reality when, in the 1980s, the leadership of Pittsburg State University and the PSU Foundation embraced the concept of launching a campaign to support the acquisition of what would become Fisk Opus 106. Since its arrival in 1995, it has served as the university’s primary instrument for teaching and performance, and as such has been visited by many of the profession’s most distinguished organists for concerts and masterclasses.

The opportunity to work toward the acquisition of a second new organ for Pittsburg, this time for First United Methodist Church, brought to mind images of a rather different type of instrument, one whose primary function would be to accompany the choir and congregation in the church’s long-standing and vibrant music program. The goal for Opus 152—with its substantial and versatile Swell and Fisk’s characteristically full-bodied principals of the Great, working in concert with the critically important acoustical improvements to the sanctuary—was to achieve a result that would bring an entirely new dimension to congregational singing, one that would be both supportive and inviting. By all accounts from members of the congregation, this goal has been met with resounding success!

Visitors to Pittsburg invariably sense the wonderful symbiotic relationship that exists here between the university and the community. In that spirit, my hope is that both institutions will benefit greatly from the presence of Opus 106 and Opus 152. Organ students as well as seasoned professionals will have an opportunity to study the two instruments’ differences in tonal resources, stop action, and other essential aspects of their design, and will continue to engage in great music-making for many years to come.

—Susan J. Marchant

Director of Music, First United Methodist Church, Pittsburg

Professor and Chair, Pittsburg State University Department of Music

GREAT (Manual I)

16′ Bourdon

8′ Principal

8′ Harmonic Flute

8′ Spire Flute

4′ Octave

8′ German Trumpet

SWELL (Manual II, enclosed)

8′ Violin Diapason

8′ Viole de gambe

8′ Voix céleste

8′ Chimney Flute

4′ Principal

4′ Harmonic Flute

2-2⁄3′ Nasard

2′ Fifteenth

2′ Piccolo

1-3⁄5′ Tierce

1-1⁄3′ Mixture IV–VI

8′ Trompette

8′ Hautbois

8′ Clarinette

PEDAL

16′ Principal

16′ Bourdon (Gt)

8′ Principal (Gt)

8′ Spire Flute (Gt)

4′ Octave (Gt)

16′ Trombone

Couplers

Swell to Great

Great to Pedal

Swell to Pedal

Swell to Pedal 4′

Accessories

Wind Stabilizer

General Tremulant

Key action: direct mechanical (tracker)

Stop action: solenoids, electrically controlled

Combination action: by SSOS, Sequencer

Casework: Quartered white oak with black walnut console surround

Keydesk: two manuals and pedal; manuals 61 keys (CC–c4); Fisk pedalboard 32 keys (CC–g1)

Temperament: Fisk II

Photo courtesy C. B. Fisk, Inc.

Builder’s website: www.cbfisk.com

Church website: www.fumcpittsburg.org

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